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Dance to Change, Dance to Heal

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Dance to Change, Dance to Heal UC Irvine UC Irvine Electronic Theses and Dissertations Title Dance to Change, Dance to Heal Permalink https://escholarship.org/uc/item/20b596x9 Author Lee, Francesca Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE Dance to Change, Dance to Heal THESIS submitted in partial satisfaction of the requirements for the degree of MASTER OF FINE ARTS in DANCE by Francesca Allyson Lee Thesis Committee: Assistant Professor Dr. Kelli Sharp, Chair Professor Loretta Livingston Professor Molly Lynch 2017 © 2017 Francesca Allyson Lee DEDICATION To my parents, Randy Lee and Kazuko Harada-Lee Thank you for all you have sacrificed to provide me with an opportunity to dream and live life passionately. To my dad, thank you for your endless support and always daring me to take risks. Your positivity and life lessons have led me to soar high. To my mom, I miss you. This is for you. Your relentless love and devotion shaped me into the woman I am today. Thank you again for your love, trust, and guidance through life. ii TABLE OF CONTENTS PAGE LIST OF TABLES AND GRAPHS iv ACKNOWLEDGEMENTS v ABSTRACT OF THESIS vi CHAPTER ONE: Dance to Change, Dance to Heal: 1 Overview of Dance as Healing CHAPTER TWO: Dance and Stress: Background on Dance Benefits, Stress 6 & Coping CHAPTER THREE: Dance Professionals: Literature Review 15 CHAPTER FOUR: From a Dancer’s Experience: Interviews about 28 the Role of Dance in Participants’ Lives CHAPTER FIVE: FLUX: Choreographic Choices 46 CHAPTER SIX: Dancing as a Coping Mechanism: Intersection 63 Between Dance Professionals, Interviewed Participants, & Choreography BIBLIOGRAPHY 78 APPENDIX A: Holmes-Rahe Life Stress Inventory 83 APPENDIX B: IRB Protocol Narrative 84 APPENDIX C: Recruitment Email 97 APPENDIX D: Study Information Sheet 98 APPENDIX E: Recruitment Flier 100 APPENDIX F: Interview Questions 101 APPENDIX G: FLUX: Dance Thesis Concert Program 102 iii LIST OF TABLES AND GRAPHS PAGE Table 4.1 Interviewed Participant Categories 29 Table 4.2 Interviewed Participant Demographics 30 Graph 4.1 Types of Stress 31 Graph 4.2 Genre of Dance Preference 32 Table 4.3 Demographics of Pre-professional and Professional Dancers 33 Table 4.4 Demographics of Recreational Dancers 37 iv ACKNOWLEDGEMENTS I would like to express my deepest appreciation and gratitude to my thesis committee chair, Dr. Kelli Sharp. Thank you for encouraging me to be confident in my own voice throughout my writing and choreography. Your insight into academic writing and guidance helped me excel and grow further as an artist. The enthusiasm and positive energy you provided me with was encouraging and inspiring. I am grateful for everything you have taught me through this process. I would like to thank my thesis committee members Professor Loretta Livingston and Professor Molly Lynch for your encouragement, guidance, and support in my thesis. Also, to the dance faculty at the Claire Trevor School of the Arts, I express my appreciation for allowing me to grow and experiment in this program. I would like to immensely thank the interviewed participants from this research study. Your time and willingness to open your heart and mind to share your personal experiences has greatly contributed to this project. It would not have resulted in the way that it did without your passion for dance. Thank you to Dr. Jennifer Fisher for your Bibliography and Research class. It brought me to this journey. I thank you for directing me to find our interest in dance research. I would also like to acknowledge Scott Stone, Research Librarian for the Performing Arts, for answering all my researching questions and helping me find the resources needed to conduct this research. I would like to acknowledge the talented dancers who were part of my thesis concert, FLUX. You make the indescribable come to life with your artistry and commitment to dance. I would like to also recognize my teachers and mentors who shaped me as an individual and artist. Bobbe Willard, Leann Alduenda, Mike Esperanza, Kari Borg, Diana Stanton, Michelle Walters, and Maria Junco. You are held dear to my heart. You helped me find life and opened a world I would have never discovered. To my cohort, I am so grateful and honored to have gone through this program with you. Your laughter, encouragement, love, and wild spirits have bonded us for life. I thank you with all my heart for each of you. Lastly, my experience at UCI would not have happened without my family. A special thank you to my dad who has supported me in every way during this program and in life. I am forever grateful and humbled by your love. v ABSTRACT OF THESIS Dance to Change, Dance to Heal By Francesca Allyson Lee Master of Fine Arts in Dance University of California, Irvine, 2017 Dr. Kelli Sharp, Chair This qualitative study explores dance as a therapeutic coping mechanism used by those affected by change due to a stressful life event. This research identifies key components of dance as a holistic approach to control stressful life events. It adds to the existing body of knowledge of more healthy ways to manage an individual’s wellness. This investigation is divided into three parts. Research on dance professionals, Joan Skinner, Erick Hawkins, Ohad Naharin, and Anna Halprin, provide a background of incorporating dance as a coping mechanism. Interviews of pre-professional, professional, and recreational dancers demonstrate how dance has been used to relieve stress and an adjustment tool to life change. Using key components identified by dance professionals and interviewed participants, along with a personal stressful life event experience, I create and present an abstract dance concert, FLUX. Themes that emerged from all parts of this study include a strengthened sense of identity as well as sense of heightened awareness and mind body connections, which could contribute as advantageous to an individual’s mental and physical well-being. vi CHAPTER 1 DANCE TO CHANGE, DANCE TO HEAL: Overview of Dance as Healing At times, life can be overwhelmingly stressful and may seem like a constant battle. Stress can impact everyone’s life differently. For some, it triggers a reaction where a change must occur. This reaction, the fight or flight response, could challenge a person to rise to the occasion or diminish a person’s quality of life (Ratey 62). The method in which a person adapts to change is based on their capability to overcome these events. This process, or coping mechanism, can be constructed by an individual’s perception from the demands of stress (Hanna, “Dance and Stress” 7). The effects of stress could be beneficial or detrimental. Eustress, positive stress, creates an “arousal of the mind and body” that could be used to prevent negative stress (Schafer 6). On the other end of the spectrum, distress or negative stress, causes disharmony. Negative effects of a stressful life event could harm a person emotionally and physically. “Experts say that 50-80 percent of illness episodes are stress-related” (Schafer 8). Illnesses include, but are not limited to, migraine headaches, anxiety, irritability, ulcers, heart attack, cancer or high blood pressure (Schafer 8). Distress could also produce intellectual stress that puts a strain on daily productivity and dissatisfaction toward relationships. Intellectual stress can lead to possible illnesses, listed above, as individuals are unable to think clearly or remember important information due to being overloaded (Shafer 64-65). There are many key factors determining how people react and choose to manage stress in their lives. A negative outlook in managing a situation may continue to foster undesirable effects such as anxiety (Schafer 131). These negative approaches in life could be related to an 1 individual’s perception of an event. A stressful life event could overload an individual by damaging an individual’s sense of control. A positive key factor in stress is having control, which assists in adapting to as well as resolving a situation (Sapolsky 261). It diminishes the “sense of helplessness and fear related to pain while coping” (Hanna “Power of Dance” 326). An individual with control could have a sense of self-efficacy in managing a situation. Outlook and control can affect an individual’s coping method to minimize or reduce the impact of stress. Coping is the way individuals survive and break down an issue to make stress manageable (Weisman 4-5). The way issues present themselves affect ways in which an individual reacts. For example, an individual that manages stress by participating in an enjoyable activity could facilitate a greater sense of self-worth, companionship, feelings of appreciation, solitude, and/or diversion (Schaefer 296). In result, an enjoyable activity creates a purpose for an individual as it offers positive advantages. If a purpose in life exists, there is a “goal of coping better and tolerating distress” (Weisman 32). Coping is not focused on the end results, but a means towards a transformation from one place to another (Weisman 5). During this transformation, a process of coping could be harmful such as self-inflicting pain for temporary release through drugs or alcohol, possibly turning into addiction (Sapolsky 343). Coping strategies could also be used in negative approaches such as distraction, humor to change tone, vent, blame, or denial (Weisman 36-37). A healthy coping strategy can be participating in an enjoyable activity that can either be physical or in the arts. Exercise has been proven by many researchers to have a positive effect on cognition and mental health (Ratey 7). It can elevate and stabilize mood while improving self-esteem (Sapolsky 401). It also serves as an outlet for frustration by purposefully turning on a stress response with exercise to reduce tension (Sapolsky 416).
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